T9  2. 


E>2Se. 


AHER’5  EDITION 


or  PL7\Y3 


AN  EVENING 


OF 

Statuary  and  Tableaux 

^ Summer  EC'enings  Epberbainmenb 

BY 

G.  B.  BARTLETT 

LieRARY  CF  m 

/m  2-  iG32 

I'-IVERSITY  OF  ILLINOIS 
BOSTON 


COPYRIGHT,  1888, 

By  Walter  H.  Baker  & Co. 


A SUMMER  EVENING’S  EN^ 
TERTAINMENT. 

Many  rainy  and  dull  days  will  cloud  the  bright- 
est summer  vacation ; and  the  object  of  tliese 
papers  is  to  provide  for  pleasure-seekers  at  the  sea- 
side, mountain-resorts  and  farmhouses  — a set  of  in- 
door entertainments — with  simple  and  effective 
directions  by  which  they  can  be  carried  out  with 
little  trouble  and  expense.  They  take  in  the  whole 
household,  old  and  young,  and  the  preparations  of 
costume  an  :1  accessories  will  be  found  very  enjoy- 
able work  for  rainy  days. 

The  stage  can  be  made  on  tables,  and  folding  doors 
used  for  curtains  ; but  as  many  proprietors  of  sum- 
mer hotels  and  large  farmhouse  resorts  have  ex- 
pressed a wish  for  a portable  stage  which  can  be  put 
up  at  short  notice  without  damage  to  floor  or  walls, 
3 


4 


AN  evening’s  entertainment. 


and  packed  away  the  next  morning,  a working  plan  for 
such  a stage  is  here  given. 

A frame  of  boards,  one  inch  thick  and  one  foot 
wide  (fig.  i),  is  made,  with  opening  nine  feet  in  height 
and  fourteen  in  length,  fastened  together  in  profile  by 
a block  at  each  corner  and  two-inch  screws.  The 


FIG.  I. 

edge  of  this  frame  stands  on  the  floor,  and  braces  go 
from  the  top  of  it  to  the  walls  of  the  room  on  each 
side. 

Six  rough  trestles  (fig.  2),  seven  feet  long,  eleven 
inches  high,  and  three  inches  wide,  are  placed  on  the 
floor,  two  of  them  in  line  close  behind  the  frame, 


AN  evening’s  entertainment. 


5 


the  next  pair  half  way  back,  the  others  against  the 
back  wall  of  the  room.  Fourteen  boards,  fourteen 
feet  long,  one  foot  wide,  and  one  inch  thick,  are  laid 
on  these  trestles,  and  fastened  to  them  with  two- 
inch  screws,  thus  forming  a stage  fourteen  feet  wide, 


FIG.  2. 


fourteen  feet  deep,  and  just  the  height  of  the  upper 
edge  of  the  lower  side  of  the  frame  (fig.  3). 

Four  trestle  frames  (fig.  4,  side  view,  fig.  5,  front 
view),  five  feet  long,  and  three  feet  high,  are  next 
placed  four  feet  apart,  with  the  ends  against  the 
back  wall  of  the  room  on  the  stage.  Five  boards. 


6 


AN  EVENINGS  ENTERTAINMENT. 


fourteen  feet  long,  twelve  inches  wide,  and  one  inch 
thick,  are  screwed  in  place  across  the  top  of  these 
trestle  frames,  thus  making  a platform  five  feet  wide 
and  three  feet  one  inch  high,  across  the  back  of  the 
stage. 

In  the  middle  of  this  platform,  two  feet  from  the 
back,  a second  and  smaller  frame  (fig.  5),  made  in 
the  same  way  as  the  first,  with  opening  four  feet 
wide  and  six  feet  high,  is  erected.  This  small 
frame  stands  upon  the  platform  two  feet  from  the 
back  wall,  in  a perfectly  upright  position.  A small 
platform,  five  feet  long,  two  feet  wide,  and  one  foot 
high,  fills  all  the  space  between  this  small  frame  and 
the  wall,  and  serves  also  to  keep  it  in  position. 

At  each  end  of  the  large  platform,  a post  thirteen 
feet  high  is  erected,  two  feet  from  the  back  edge, 
a hole  being  cut  in  the  stage  so  the  end  may  pass 
through  and  rest  upon  the  floor  of  the  room.  From 
the  tops  of  these  posts  light  strips  of  board  two  inches 
wide  run  to  the  upper  corners  of  the  large  or  front 
frame,  and  a similar  strip  connects  the  tops  of  the 
posts. 

These  strips  support  the  roof  and  sides  of  the 


AN  evening’s  entertainment. 


1 


stage,  which  may  be  made  of  plain  black  calico 
stretched  tightly.  Between  the  side  strips,  just  in 
front  of  the  small  frame,  two  curtains  of  the  same 
material,  meeting  in  the  centre,  are  hung  by  rings  on 


FIG.  4. 

cords.  This  two-part  curtain  hides  the  small  frame 
when  it  is  not  in  use,  and  fills  the  space  at  each  side 
of  it  when  drawn  aside  from  the  centre  to  show 
small  pictures.  Another  black  curtain  is  hung  behind 


8 


AN  evening’s  entertainment. 


this  small  frame  against  the  back  wall  of  the  room. 

Behind  the  large  frame  a thick  curtain  is  hung  by 
rings  so  that  it  will  run  easily  on  a wire  stretched 
taut  just  above  the  opening.  Over  this  curtain,  be- 
hind the  upper  board  of  the  frame,  a row  of  ten  gas- 
burners  is  placed,  with  reflectors  behind  them ; these 


lights  can  be  fed  from  a chandelier  by  an  elastic  pipe 
Kerosene  lights  may  be  placed  on  a shelf  firmly 
wired  in  position,  if  gas  is  not  available.  These 
frames  may  be  painted  or  covered  with  gilt  paper ; 
and  a curtain  of  black  tarleton  muslin  may  be 


AN  evening’s  entertainment. 


stretched  in  front  of  the  large  frame  when  the 
audience  is  seated  near. 

A stage  thus  constructed  is  suitable  for  the  most 
elaborate  performances,  and  the  fact  of  its  being 
portable  will  render  it  a useful  possession  in  the 
* neighborhood  in  case  of  church  and  charitable  enter- 
tainments, as  the  pieces  can  be  numbered  and  stored 
away.  If  there  are  spaces  at  the  sides,  curtains  can 
be  hung  to  the  walls  of  the  room. 

The  platform  described  above  is  a new  invention 
to  save  time,  as  the  front  has  three  covers  : one  of  tur- 
key-red cloth,  with  a strip  of  blue  cambric  nine  inches 
wide  across  the  bottom,  on  which  chalk  lines  are 
drawn  to  represent  water,  and  against  the  ends  of 
which  profiles  are  leaned  when  boats,  etc.,  are  needed  ; 
a cover  of  white  cloth  covers  this,  and  is  turned 
back  when  the  red  is  shown,  and  is  hung  over 
the  red  when  a statuary  pedestal  is  needed  ; a mov- 
able black  cover  fourteen  feet  long  and  three  feet 
wide  covers  all  when  small  picture  pantomime  or 
stage  groups  are  shown.  Several  strong  boxes  cov- 
ered, some  with  black  and  others  with  white  cloth, 
will  be  found  useful,  if  of  various  sizes. 


lo  AN  evening’s  entertainment. 

I.  Tableau:  parsee  sun-worshippers  watching 

FOR  DAYBREAK. 

This  is  one  of  the  finest  Oriental  groups  ever 
represented,  and  consequently  depends  much  on 
the  expression  of  face  and  grace  of  attitude  dis- 
played by  the  performers.  A group  of  six  maidens 
are  eagerly  watching  for  the  rising  of  the  sun,  as  if  in 
doubt  whether  they  will  ever  again  behold  the  object 
of  their  adoration.  They  are  grouped  as  follows : 
One  kneels  on  the  platform  at  the  centre,  her  left 
hand  resting  on  a huge  harp,  and  the  right  shading 
her  eyes.  Next  her  stands  another  with  her  left  hand 
on  the  shoulder  of  the  harp-player,  and  her  right  hand 
extended  as  if  pointing  to  the  glowing  east.  At  the 
left  side  is  a third,  pointing  with  the  right,  and  shad- 
ing her  eyes  with  the  left  hand.  Seated  on  the  stage 
on  a box,  another  maiden  leans  on  her  guitar,  and 
eagerly  looks  in  the  direction  of  the  pointing  right 
hand  of  a lady  who  touches  with  her  left  hand  the 
shoulder  of  the  one  with  the  guitar.  At  the  right  of 
the  last  couple  another  maiden  kneels,  gazing  earn- 
estly in  the  same  direction.  All  wear  turbans  of 
Roman  scarfs,  tunics  made  of  crape  or  other  bright 


AN  evening’s  entertainment.  II 

shawls,  and  short,  bright  skirts,  the  front  of  their 
dresses  covered  with  ornaments  of  gilt  paper  and  glit- 
tering chains  and  coins.  In  the  next  scene  all  are 
playing  on  their  instruments  to  welcome  the  now-risen 
sun.  The  harp  and  cymbals  are  made  of  pasteboard 
covered  with  gold  paper,  and  the  others  have  guitar 
and  tambourines. 

II.  Statuary:  diana  and  endymion. 

Endymion,  a handsome  boy,  reclines  in  a graceful 
attitude  at  the  left  end  of  the  platform,  his  head  lean- 
ing on  his  left  arm,  which  rests  upon  a box  draped  to 
represent  a rock.  Diana  stands  at  the  right,  grasping 
her  bow  with  her  left,  and  extending  her  right  hand  a 
little  above  her  head  as  if  astonished.  She  is  sup- 
posed to  have  just  discovered  the  sleeping  youth,  and 
is  gazing  on  him  with  delight.  The  youth  wears  a 
tightly  fitting  suit  of  cotton,  and  a short  skirt  of  cot- 
ton-flannel, a band  from  which  goes  over  his  left 
shoulder.  He  wears  white  cotton  hose  and  gloves, 
as  also  does  the  lady,  who  is  draped  in  cotton  sheets. 
The  faces  of  both  are  whitened,  and  their  hair  is  cov- 
ered with  cotton  wadding.  Diana’s  wig  is  made  with 


12 


AN  EVENING  S ENTERTAINMENT. 


the  large  knot  behind  so  often  seen  in  her  statues. 
The  bow  is  covered  with  white  cotton  cloth,  and  the 
quiver  which  she  wears  over  her  left  shoulder  is 
made  of  pasteboard,  also  covered  with  white  cloth. 
The  lady  must  stand  perfectly  still,  which  is  very  hard 
to  do  in  such  a strained  attitude,  especially  when  the 
eyes  are  closed,  which  is  always  needful  m personating 
statuary.  The  platform  and  box  are  draped  with 
white,  and  when  convenient,  a good  effect  is  produced 
by  showing  them  first  on  a dark  stage,  and  turning  on 
the  gas  very  slowly  until  it  is  quite  light.  They  come 
out  very  strongly  under  this  treatment. 

III.  Tableau:  homage  to  poetry. 

Poetry  is  seated  in  a pensive  attitude  on  a box  in 
the  centre  of  the  platform  ; on  another  higher  box 
behind  her  stands  Glory  crowning  her  with  a 
wreath.  Fame,  with  a long  trumpet,  stands  at  the 
right,  and  History  sits  at  the  left,  writing  on  a 
tablet  with  a large  pen.  On  the  stage  in  front  of 
these  figures  stands  a group  of  six  children  in  a circle 
around  Hope,  who  leans  her  left  hand  on  an  anchor, 
pointing  upward  with  her  right.  The  five  ladies 


AN  evening’s  entertainment.  13 

should  be  blondes  with  flowing  hair,  in  classic  dress, 
which  is  easily  fashioned  of  unbleached  cheese-cloth 
hanging  straight  from  the  shoulders  to  the  feet, 
excepting  that  a tape  is  tied  around  the  waist,  a 
portion  of  the  drapery  being  allowed  to  fall  over  it. 
Glory  has  a scarf  of  red.  Poetry  of  blue,  History 
of  brown,  and  Fame  and  Hope  of  pink,  all  of  soft 
cotton  cloth,  pinned  to  the  left  shoulder  and  carried 
to  the  right  foot.  A long  floral  rope  droops  from 
Hope’s  left  hand  over  the  anchor,  and  the  two 
ends  are  held  by  the  children  at  the  right  and  left. 
The  children  wear  white  dresses  trimmed  with  flow- 
ers. The  anchor  and  tablet  are  made  of  pasteboard, 
and  the  horn  is  a roll  of  brown  manilla  paper,  wet 
with  paste  and  bent  into  a curved  form  while  damp, 
and  when  dry  covered  with  silver  paper.  The  lyre 
of  Poetry  may  be  copied  in  pasteboard  from  the 
one  under  a piano,  and  covered  with  silver  paper. 
Black  platform  and  boxes  are  used  for  this  scene. 

IV.  MARGERY  DAW. 


See-saw,  Margery  Daw,” 

Here  we  go  higher  and  faster, 


14  AN  evening's  entertainment. 

Down  to  the  earth,  then  up  to  the  sky, 

Sweet  little  maiden  and  master. 

Two  pretty  children  dressed  in  antique  style  are 
enjoying  themselves  at  see-saw,  for  which  purpose  a 
plank  twelve  feet  long  and  three  inches  thick  is  bal- 
anced on  a high  box  or  trestle.  The  song  to  which 
the  above  words  are  sung  may  be  found  in  Elliot’s 
Mother  Goose  Set  to  Music,  and  the  singing  may  be 
done  by  the  children  themselves,  by  a lady  dressed  in 
Mother  Goose  costume,  or  by  a concealed  singer. 
Each  time  the  verse  is  sung,  the  time  is  quickened, 
and  the  children  move  faster  and  faster  in  unison 
with  it,  until  at  last  they  move  with  the  utmost  rapid- 
ity. The  boy  has  lace  ruffles  in  the  front,  collar  and 
sleeves  of  his  coat,  and  at  the  knees  of  his  knicker- 
bockers, which  should  be  of  velveteen,  a cocked  hat, 
powdered  hair,  and  queue.  The  girl  wears  a bright- 
flowered  cretonne,  tucked  up  over  a quilted  skirt,  pow- 
dered hair,  with  a very  small  hat  on  one  side.  She 
carries  a handsome  fan,  over  which  she  glances  at 
the  boy,  who  waves  a lace  handkerchief  to  her  every 
time  he  ascends.  Mother  Goose  has  a chintz  over- 
dress, black  skirt  and  high  pointed  hat  with  large 


AN  evening’s  entertainment. 


^5 


buckle,  and  carries  a cane  with  a bar  across  the  top, 
with  which  she  points  to  the  children  while  singing^ 
standing  behind  them. 

V.  Picture:  sub  rosa. 

This  picture  is  shown  in  the  smaller  frame,  and 
represents  a young  lady  confessing  a secret  to  a ma- 
tron before  whom  she  kneels.  The  older  lady,  dressed 
in  black  silk  or  velvet,  with  a high  turban  over  her 
gray  hair,  sits  a little  to  the  left  of  the  centre  of  the 
frame  in  an  antique  chair;  and  before  her  kneels 
the  younger,  looking  earnestly  up  into  her  face, 
with  her  clasped  hands  resting  on  the  lap  of  her  con- 
fidante. The  chair  is  turned  sideways  to  the  specta- 
tors so  that  the  faces  of  the  ladies  are  shown  in 
profile.  The  older  lady  holds  a spray  of  roses  in  her 
left  hand,  which  is  slightly  elevated  so  that  the  flowers 
are  over  the  head  of  the  younger  one.  If  the  ladies 
keep  perfectly  still  the  effect  will  be  so  much  like  a 
real  painting  as  to  astonish  the  spectators,  for  the 
frame  makes  them  look  very  much  smaller  than  life. 
The  younger  lady  must  wear  a dress  of  some  bright 
shade  ter  contrast  with  the  dark  dress  of  the  other, 


1 6 AN  evening’s  entertainment. 

and  both  may  be  of  as  rich  material  as  possible.  As 
it  is  quite  important  that  all  pictures  should  be  set  in 
the  exact  centre  of  the  frame,  a mark  across  the 
small  platform  which  is  behind  the  frame,  carefully 
measured  to  find  the  middle,  will  be  found  useful. 

VI.  Pantomime:  the  alarm. 

This  humorous  pantomime  scene  represents  a 
family  disturbed  by  an  alarm  of  burglars.  The  old 
man  heads  the  procession,  in  one  hand  holding  a 
large  pistol,  in  the  other  a fire-shovel.  His  wife  is 
behind  him  with  an  uplifted  feather  duster,  and  two 
frightened  children  cling  to  her  skirts,  while  in  the 
background  are  the  servants  protected  by  the  cook, 
who  has  grasped  a ladle  with  her  left,  and  holds  a 
lighted  candle  high  above  her  head  with  her  right 
hand.  The  whole  party  keep  advancing  toward  a 
door  and  then  retreating,  as  if  they  heard  strange 
sounds  from  the  closet  behind  it.  After  much  trepi- 
dation the  old  man  summons  courage  to  open  the 
door,  when  out  springs  the  burglar — a large  cat. 
Astonished,  the  cook  drops  the  candle,  and  the  whole 
party  in  great  confusion  tumble  wildly  abont,  stum- 


AN  evening’s  entertainment.  17 

bling  over  the  children  who  are  rolling  about  the 
floor.  The  man  wears  a dressing-gown  and  flannel 
nightcap  of  red,  the  ladies  are  in  calico  dresses  with 
shawls  pinned  over  their  heads  and  shoulders,  and  the 
cook  wears  a huge  cap  with  white  apron  and  kerchief. 
The  children  are  in  nightgowns  and  nightcaps.  The 
closet  may  be  made  by  placing  a door  across  the 
corner  of  the  stage.  The  cat  is  held  by  some  one 
concealed  behind  the  black  drapery  in  the  closet, 
who  gives  Jier  a toss  just  as  the  door  is  opened,  and 
she  will  seldom  fail  to  “act  well  her  part.” 

VII.  Pictures  and  Tableau:  reveries  of  a bach- 
elor. 

The  bachelor  is  asleep  on  a couch  at  the  left, 
while  on  the  extreme  right  of  the  platform  a little 
Cupid  rests  upon  his  bow.  Each  time  when  a vision 
appears  in  the  centre  of  the  small  frame,  Cupid  lifts 
his  bow  and  points  it  toward  the  sleeping  bachelor, 
aiming  at  his  heart.  The  young  ladies  who  form  the 
visions  pass  slowly,  one  by  one,  behind  the  frame, 
pausing  for  ten  seconds  in  the  centre.  As  these  vis- 
ions must  be  in  perfect  order  and  time,  an  assistant 


i8  an  evening’s  entertainment. 

must  be  concealed  at  the  right  who  directs  them  when 
to  appear,  when  to  turn  front  face,  and  when  to  dis- 
appear after  they  have  stood  still  for  ten  seconds. 
After  the  visions  have  all  been  seen  the  curtain  falls. 
They  are  again  seen  grouped  about  the  couch,  some 
behind  it,  some  at  each  end,  and  others  above  on  the 
platform.  Perched  high  above  all,  Cupid  stands  on 
a pyramid  of  boxes,  which  is  hidden  by  the  group  of 
young  ladies.  All  may  be  in  modern  costume,  with 
as  much  variety  in  style,  color  and  material  as  pos- 
sible. The  bachelor  has  a newspaper  in  his  hand  as 
if  he  had  fallen  asleep  while  reading,  in  a dark  suit 
with  slippers  and  breakfast-jacket.  The  ladies  who 
compose  the  visions  should  practise  gliding  slowly 
and  steadily. 

VIII.  Boat  Scene:  dolce  far  niente. 

A group  of  pleasure-seekers  are  becalmed  on  their 
homeward  sail  from  a grand  reception,  weary  with  the 
day’s  merrymaking.  A handsome  youth  in  the  dress 
of  a cavalier  stands  on  the  highest  box  in  the  centre 
of  the  platform,  playing  on  a guitar ; two  ladies  in 
rich  dresses  of  contrasted  color,  languidly  recline  at 


AN  evening’s  entertainment.  19 

his  feet.  At  the  stem  of  the  boat  the  old  steersman 
sits  sound  asleep,  his  long  white  beard  resting  on 
his  chest.  Next  him  a lady  sits  leaning  her  head  on 
her  hand,  anxious  not  to  waken  the  lovely  blonde 
asleep  with  her  fair  head'  in  her  lap.  A merry, 
bright-eyed  brunette  in  a brilliant  buff  silk  is  trying 
to  wake  the  sleeper  with  a long  peacock  feather, 
which  she  has  taken  from  a fan  lying  at  her  feet.  At 
the  bow  a lady  in  dark  silk  or  velvet  holds  a sleeping 
child,  and  a colored  woman  in  white  drapery  and 
, turban  fans  it  with  a red  fan.  Two  profiles,  one  in 
the  form  of  a shell,  the  other  in  the  form  of  a dove, 
three  feet  in  height  and  four  in  length,  are  cut  from 
this  board  and  painted  white,  with  gilt-paper  decora- 
tions, and  lean  against  the  red-curtained  platform 
behind  the  blue  water  strip,  and  in  front  of  the 
group,  thus  forming  the  prow  and  stern  of  the  boat. 
The  steersman  wears  a red  robe,  the  musician  a dark 
dress  with  laces,  and  an  opera  cape  over  the  shoulder. 
The  ladies  all  wear  silk  and  will  have  powdered  hair. 

IX.  Picture:  the  blind  beggar. 


In  the  smaller  frame,  a very  old  man,  with  long 


30 


AN  EVENING  S ENTERTAINMENT. 


white  wig  and  beard,  stands  with  his  old  hat  in  his 
right  hand,  and  is  leaning  with  his  left  upon  the 
shoulder  of  a very  pretty  sad-faced  little  girl,  who 
holds  a bundle  tied  up  in  a bright  handkerchief  in 
her  right  hand,  with  her  left  hand  holding  an  old 
shawl  over  her  head  at  the  chin.  Both  must  wear  sad 
expressions  of  face,  and  the  old  man  must  have 
his  eyes  shut.  He  wears  an  old  cloak,  covered  with 
patches,  which  also  adorn  his  knee-pants  and  long 
vest.  The  tatters  can  be  sewed  on  to  respectable 
clothing  without  injury,  and  still  give  the  appearance 
of  extreme  poverty.  This  picture  is  very  useful 
as  a contrast  to  the  more  brilliant  ones,  as  much 
of  the  success  of  a performance  depends  upon  the 
skilful  blending  of  the  bright  and  sombre,  the  serious 
and  humorous.  In  this  picture  it  may  be  well  to 
turn  the  light  down,  and  gradually  increase  it.  If  a 
white  wig  and  beard  are  not  easily  to  be  procured, 
flax  makes  a good  substitute,  or  white  wool  fringe 
sewed  into  a skull-cap,  which  may  be  marked  in 
front  with  black  wrinkles  on  light  pink  cloth.  A 
portion  of  the  child’s  hair  drawn  out  loosely  over 
the  shawl  will  add  to  the  picturesque  effect.  The 


AN  EVENING  S ENTERTAINMENT. 


21 


feet  may  be  dressed  in  pink  hose  so  as  to  look  like 
bare  feet. 


X.  Pantomime:  family  jars. 

This  scene  and  the  companion  one  show  a well- 
known  family  scene,  where  the  hungry  youngsters, 
having  been  awakened  by  the  shining  of  the  moon 
into  their  room,  have  gone  forth  upon  a midnight 
foray  in  search  of  goodies.  The  same  cupboard 
may  serve  as  in  the  Alarm,’’  and  placed  on  the 
platform  at  the  centre ; two  tables  and  three  chairs 
will  also  be  needed,  and  a dozen  preserving-jars 
filled  with  any  bright-colored  substances.  First  one 
child  glides  in  and  looks  around  to  see  that  the 
coast  is  clear.  I'hen,  one  after  another,  the  white- 
gowned  mischief-makers  enter  on  tiptoe,  and  express 
their  delight  that  all  seems  favorable,  by  wild  capers. 
At  last  they  draw  a table  near  the  platform,  put  a 
smaller  table  on  that,  a chair  on  that’;  then  a second 
chair  is  brought,  by  which  one  of  their  number 
climbs  to  the  first  table,  and  puts  a chair  on  it ; then 
he  stands  on  the  top  chair,  another  child  mounts  the 
next,  etc.,  so  that  there  is  a child  on  each  table  and 


22 


AN  evening’s  entertainment. 


chair,  and  the  others  are  grouped  around  in  expectant 
attitudes.  The  upper  child  opens  the  cupboard-door, 
and  passes  down  a jar  of  sweetmeats  to  every  child, 
and  all  begin  to  eat  greedily,  to  the  detriment  of  their 
white  robes.  In  the  midst  of  the  fun  an  ancient 
dame  appears,  in  high  cap,  black  dress,  with  uplifted 
rod  in  hand. 


XI.  Pantomime:  family  jam. 

This  is  a natural  consequent  of  the  former  scene. 
The  pyramid  of  furniture  has  fallen  to  the  floor, 
burying  them  in  its  ruins.  A confused  mass  of 
children,  chairs  and  tables  is  shown,  the  children 
striving  to  extricate  themselves  from  the  wreck, 
yet  unwilling  to  resign  the  sweets.  Three  of  the 
little  ones  lie  flat  upon  their  faces  in  the  foreground, 
under  a long  table,  which  is  sustained  at  one  end 
by  a chair  which  lies  on  its  side;  other  children 
lie  on  this  fallen  table,  and  another  table  rests  partly 
upon  them,  one  end  upon  a chair  which  still  stands 
upright.  Some  of  the  children  are  crying,  some 
laughing,  and  others  enjoy  the  stolen  sweets  amid 
the  confusion.  The  dame  stands  above  the  group 


AN  evening’s  entertainment. 


23 


on  the  platform,  with  uplifted  rod,  as  if  deciding 
whether  to  add  to  the  punishment  already  received. 
Children  usually  enter  with  great  spirit  into  this 
scene,  which  will  be  found  very  dramatic  and 
laughable. 

XII.  Statuary : war  and  peace. 

One  very  large  man  stands  at  the  right  of  the 
stage,  holding  a long  spear,  as  if  throwing  it  at  an 
unseen  foe.  At  his  feet  lies  a lady,  her  arm  thrown 
over  the  front  of  the  platform,  and  her  head  also 
hanging  over  the  platform,  which  she  can  grasp  with 
her  left  arm  to  keep  her  position.  Near  this  group, 
on  the  left,  a lady  reclines,  resting  on  her  left  hand, 
and  holding  a dove  in  her  extended  right  hand.  The 
man  is  dressed  as  in  “ Endymion,”  with  the  addition 
of  a helmet,  made  by  covering  a wide  cake-cover 
with  white  cloth,  and  sewing  on  the  back  of  it  a 
white  pasteboard  crest.  A stuffed  dove,  with  spread 
wings,  can  usually  be  hired  of  a florist,  or  may  be 
cut  from  white  pasteboard,  the  wings  spread,  and  the 
whole  covered  with  Canton  flannel.  The  spear  is 
made  by  tacking  a pasteboard  head  upon  a long 


24  AN  evening’s  ENTERTAINMENT. 

wooden  staff,  and  covering  all  with  white  cloth. 
The  same  persons  can  take  part  in  the  various 
groups  of  statuary,  as  they  are  so  much  disguised 
as  to  be  hardly  recognized.  Thus  two  gentlemen,  four 
ladies  and  one  child  will  serve  as  the  statuary  for 
\e  most  elaborate  entertainment. 

XIII.  Pictures  cherry-ripe. 

This  picture  may  be  shown  in  the  frame,  and  is 
very  brilliant,  as  it  represents  a dark-eyed  girl,  with 
brilliant  lips  and  cheeks,  wholly  dressed  in  cherry 
color:  skirt,  bodice  and  waist  made  of  turkey-red 
cloth.  On  her  head  she  bears  a large  waiter  heaped 
high  with  the  luscious  fruit,  a spray  of  which  she 
holds  in  her  right  hand  above  her  uplifted  face,  as 
if  trying  to  catch  one  of  the  tempting  cherries  in  her 
lips  they  rival.  If  out  of  season,  the  fruit  on  her 
waiter  may  be  covered  with  a cherry-colored  napkin, 
while  the  cherries  she  holds  can  be  found  at  a 
confectioner’s.  The  waiter  must  be  three  feet  long, 
or  a long  basket  may  be  substituted,  and  is  held  in 
place  by  Her  left  hand.  She  stands  a little  sideways, 


AN  evening's  entertainment. 


25 


with  her  face  toward  the  right,  and  must  have  a 
very  animated  expression  of  face  and  figure. 

XIV.  Pantomime:  the  rangers  of  the  forest. 

King  of  the  Gipsies.  Fantasia,  an  old  crone. 

Zola,  his  daughter.  Zingara,  Queen  of  the  Bohemians. 
Roderigo,  his  son.  Count  Waldemar,  English  captive. 

Spanish  gipsy  men  and  maidens  as  many  as  con- 
venient, and  two  little  boys.  This  pantomime  is  in- 
tended as  an  afterpiece,  so  that  all  the  performers 
can  take  part  in  it,  many  needing  to  do  little  more 
than  change  turbans  and  caps  for  bright  handker- 
chiefs tied  cornerwise  over  the  heads,  gayly  trimmed 
with  a profusion  of  gilt  beads  and  coins.  The  gipsy 
costume  consists  of  bright  skirts  and  bodice  waists 
for  ladies,  and  knee-breeches  and  bright-colored 
vests  for  gentlemen,  whose  leggings  and  high-crown 
hats  are  wound  with  bright  braids  and  ribbons. 
They  carry  muskets,  with  knives  and  pistols  in  their 
sashes.  Many  of  the  women  also  wear  these  weapons, 
and  all  the  young  maidens  have  tambourines  hanging 
on  the  left  side  by  ribbons  long  enough  to  allow 
their  being  raised  as  high  as  their  heads.  The  old 


26 


AN  evening’s  entertainment. 


crones  wear  red  cloaks  over  their  shoulders,  broad 
straw  hats  tied  over  their  ears,  with  gay  handker- 
chiefs, and  black  dresses  of  rough  material.  One  has 
a pack  of  cards,  and  another  has  in  charge  a large 
kettle  supported  by  a wooden  tripod,  and  a saucer  of 
alcohol  and  salt,  all  concealed  by  logs  of  wood.  The 
Count  wears  a military  suit  and  cloak.  The  lights 
burn  low,  but  are  turned  up  when  the  fire  is  lighted. 
First  Roderigo  enters,  and  walks  cautiously  around 
with  his  musket  ready  for  use.  After  satisfying  him- 
self that  all  is  safe,  he  gives  a low  whistle,  which  is 
answered  from  each  side  of  the  stage.  The  King 
enters  next,  holds  up  his  hand,  beckons,  and  many 
enter,  some  from  each  corner,  in  haste,  and  the  scene 
becomes  alive  in  a moment.  The  young  gipsy 
maidens  whirl  around,  beating  their  tambourines 
and  rattling  their  bells.  The  old  women  erect  the 
tripod  at  the  left  corner  of  the  stage,  and  light  the 
fire  under  the  kettle.  The  men  stack  their  muskets, 
and  lie  down  in  lazy  attitudes  around  the  fire. 
Others  arrive  from  time  to  time,  bringing  baskets  of 
game,  and  if  convenient  a few  live  hens  can  be  made 
to  add  music  to  the  occasion.  Soon  supper  is  ready, 


AN  evening’s  entertainment. 


37 


and  all  come  to  the  fire  to  fill  tin  clippers  which  they 
wear  attached  to  their  belts,  and  after  much  noise 
and  clatter  they  sing  a chorus  to  the  tune  of  the 
Pirate  Glee  : ” 

Ever  be  merry,  be  daring  and  free, 

Sons  of  the  forest  glade  ! 

Never  from  danger  or  trouble  we  flee, 

Safe  in  its  kindly  shade  ! 

Children  of  mist,  mid  storm  and  rain. 

Ever  we  onward  roam  ! 

We  come  and  go,  and  we  come  again. 

And  we  scorn  the  rest  of  home  I 

During  the  singing  one  old  crone  spreads  out  the 
cards  and  tells  the  fortune  of  some  young  maidens 
who  gather  around  her.  The  King  sits  at  the  centre 
of  the  platform,  his  daughter  at  his  feet.  Roderigo 
stations  a guard,  and  seems  to  send  others  out  as  if 
on  a scouting  expedition.  The  gipsies  then  recline 
in  lazy  attitudes  on  floor,  platform  and  boxes.  A 
distant  whistle  sounds,  is  answered  by  a second  and 
third,  the  men  rise  and  seize  their  arms.  Roderigo 
goes  out,  and  soon  returns  with  two  men,  who  drag 
in  Count  Waldemar  as  prisdher,  bound  with  ropes. 
They  lead  him  into  the  centre  of  the  group.  The 


28 


AN  EVENING  S ENTERTAINMENT. 


King  rises  in  wrath,  and  aims  at  him  with  apistol  which 
he  draws  from  his  belt.  Zola  springs  up,  seizes  his 
arm,  pulls  down  the  hand  which  holds  the  pistol,  and 
looks  up  into  his  face  as  if  begging  him  to  spare  the 
life  of  the  Count.  The  King  makes  a signal  to 
Roderigo,  who  drags  his  sister  away  and  holds  her 
still.  The  King  again  aims,  when  Zingara  enters, 
having  been  hastily  summoned  by  Fantasia  from  a 
thicket  outside  where  she  has  been  hidden.  Zingara 
lifts  her  hand,  points  upward,  and  all  the  gipsies 
except  the  King  and  Fantasia  fall  upon  their  knees. 
The  latter  stands  leaning  on  her  long  staff,  pointing 
an  outstretched  arm  at  the  prisoner,  who  now  breaks 
from  his  guards  and  runs  to  her  for  protection.  All 
these  motions  must  be  done  by  all  the  company,  who 
change  their  attitudes  simultaneously,  thus  forming 
three  tableaux,  marked  by  the  stroke  of  a gong-bell, 
so  that  all  may  fall  immediately  into  position.  This 
is  very  effective,  and  can  be  accomplished  with  a few 
rehearsals.  While  the  gipsies  are  still  kneeling,  the 
Count  is  led  away  by  Fantasia,  as  no  one  ventures  to 
move  until  Zingara  lowers  her  uplifted  arm.  She 
then  gives  the  signal  for  a general  merrymaking,  by 


AN  evening’s  entertainment. 


29 


twirling  her  tambourine  over  her  head  three  times, 
and  the  young  people  join  hands  in  a ring  and  go 
through  the  “ tambourine  dance,”  which  is  very  showy 
and  beautiful,  and  can  be  learned  in  a few  moments 
by  a close  attention  to  the  directions : 

All  hands  around,  all  forward  to  centre  and  clash 
tambourines  against  those  on  opposite  side.  All  open 
out  to  a round  ring  again,  and  whirl  around,  striking 
their  tambourines  against  those  of  the  dancers  on 
each  side.  Every  lady  then  turns  around  holding  her 
tambourine  above  her  head,  with  the  left  hand  against 
the  knuckles  of  her  right  hand.  Grand  right  and  left, 
each  holding  high  the  hands  which  shake  the  tam- 
bourines. All  turn  partners  with  right,  and  corners 
with  left,  repeating  the  same  twice.  Then  the  ring 
divides  at  the  sides,  those  in  front  turning  so  that  all 
will  face  audience  and  bow  very  low  at  conclusion. 

During  this  exercise,  the  king  and  all  who  do  not 
dance  occupy  the  platform,  the  fire  is  put  out,  and 
the  tripod  removed,  and  all  join  in  this  chorus  which 
will  go  to  many  common  airs  : 

The  gipsy’s  life  is  wild  and  free,  oh,  ho,  ho,  ho  I 
A careless  life  so  full  of  glee,  oh,  ho,  ho,  ho  I 


30 


AN  evening’s  entertainment. 


In  joy  we  roam  our  woodland  home, 

In  peace  or  fight,  by  day  and  night  we  onward  go ; 

In  wonted  dance  we  gayly  prance,  oh,  ho,  ho,  ho ! 

And  steal  away  ere  break  of  day. 

To  silent  camp  in  forest  damp,  to  hide  so  low. 

\Curtain  falls 

In  all  entertainments,  music  from  a piano  or  small 
orchestra  adds  much. 


A SUMMER  EVENING’S  EN- 
ENTERTAINMENT.  — II. 


I.  Boat  Scene : the  voyage  of  the  fairies. 

^ I ''HE  shell  boat  may  be  used,  changing  the  dove 
which  formed  the  prow  to  a large  golden  butter- 
fly. To  make  this  same  picture  of  a butterfly  to  right 
size,  enlarge  copy  on  thin  board  which  is  sawed 
to  the  outside  lines  and  covered  with  gold  paper, 
ornamented  with  eyes,  spots  and  lines  of  red  foil 
and  brown  velvet  paper.  This  profile  boat  projects  a 
foot  above  the  platform,  upon  which  a box  one  foot 
high  is  placed  so  a little  boy  can  sit  outside  of  the 
butterfly.  Three  boxes  of  different  sizes,  covered 
with  black  cloth,  occupy  the  centre  of  the  platform 
behind  boat  profile  to  form  a pyramid,  on  the  top  of 
which  the  queen  sits.  A fairy  stands  on  either  side 

31 


32 


AN  evening's  entertainment. 


of  her,  holding  above  her  an  enormous  leaf  as  a 
canopy,  and  the  rest  of  the  pyramid  is  covered  with 
children  , wherever  there  is  room  for  one  to  sit  or 
stand.  At  the  stern  of  the  boat  is  another  lower  pyra- 
mid of  boxes  swarming  with  little  fairies,  some  hold- 
ing wands  with  gilt  ornaments,  and  others  waving 
bright  flowers  as  fans  and  sunshades.  Between  the 
two  pyramids,  and  in  front  of  the  middle  one,  little 
boys  sit,  backs  toward  the  prow,  as  if  rowing  hard, 
with  long  oars  of  cat-tails.  In  the  spaces  left  vacant 
by  the  rowers  little  fairies  sit  or  recline.  The  boys 
wear  tight-fitting  pink  muslin  bodies,  pink  trunks, 
and  long  stockings  ; the  girls  tight  slips,  and  full  short 
skirts  of  pink,  blue  or  white  tarletan,  ornamented 
with  gold  and  silver  braid  unravelled.  Gold  paper 
may  be  used  instead  of  the  braid.  The  girls  have 
crimped  hair,  and  the  boys  wear  close  curls,  and  all 
have  wings  made  of  bonnet  wire  bent  in  the  form  of 
a butterfly’s  wing,  and  covered  with  muslin  orna- 
mented with  strips  of  gold  and  silver  paper.  The 
coarsest  muslin  is  good  enough  for  these  dresses, 
which  will  serve  for  the  costumes  of  all  fairies  and 
elves  mentioned  in  these  articles.  The  king  and 


AN  evening’s  entertainment. 


33 


queen  may  wear  golden  crowns  cut  from  pasteboard, 
trimmed  with  glass  buttons  for  dew  drops,  sewed  on 
to  gold  paper.  When  fairy  scenes  are  shown,  soft 
music  should  be  played  on  a piano,  or  be  furnished 
by  a music-box  concealed  under  the  boat  or  throne. 

II.  LOCHINVAR : Li  three  scenes. 

Before  showing  this  spirited  ballad  in  pantomime, 
the  whole  poem  should  be  finely  read,  so  that  all  the 
audience  may  understand  the  story,  and  it  may  be 
well  to  repeat  some  of  the  lines  as  they  are  acted. 
In  the  first  scene  young  Lord  Lochinvar  occupies 
the  centre  of  the  platform,  personated  by  a handsome 
boy  mounted  on  a large  rocking-horse,  the  rockers  of 
which  are  hidden  by  a strip  of  black  cambric  fastened 
along  the  platform.  He  is  dressed  in  a Highland 
suit,  and  doffs  his  bonnet  and  waves  his  sword  as  he 
reins  his  spirited  steed. 

In  the  second  scene  the  stage  is  filled  with  little 
boys  and  girls  in  Highland  dress,  all  but  one  little 
miss,  who  wears  a full  bridal  suit,  and  stands  near  the 
centre  of  the  stage  with  the  bridegroom.  The  plat- 
form is  occupied  by  the  father  and  mother,  and  the 


34 


AN  evening’s  entertainment. 


priest  in  a long  black  robe,  the  former  couple  in 
Highland  dress,  with  powdered  hair.  Lord  Lochinvar 
enters  in  haste,  and  a great  sensation  follows.  The 
father  salutes  him  with  the  words,  Oh ! come  you  in 
peace,  or  come  you  in  war  ? ” Lord  Lochinvar  takes 
the  lady  from  the  craven  to  whom  her  father  had 
promised  her  hand,  and  leads  her  to  the  place  at  the 
top  of  the  dance,  which  is  now  formed  by  the  ladies 
standing  in  line  at  the  left  and  the  gentlemen  at  the 
right.  The  top  couple  promenade  down,  and  the 
sides  forward  and  back  in  line.  Lord  Lochvinar  steals 
swiftly  off  at  the  left  with  his  partner  during  the  last 
figure,  in  time  with  the  music,  and  presently  the  cur- 
tain is  drawn  away  from  the  picture  frame,  and 
Lochinvar  is  seen  on  his  gallant  rocking-horse  steed 
holding  his  little  bride ; and  all  rush  off  in  great  con- 
fusion, after  pausing  a moment  in  a tableau  of  aston- 
ishment. 

Scene  third  shows  the  mad  pursuit  of  Young  Loch- 
invar  by  the  astonished  revellers,  some  on  foot,  and 
some  mounted  on  rocking  and  wheel  horses ; they 
dash  about  with  great  speed,  but  without  getting 
another  glimpse  of  the  truants. 


AN  evening’s  entertainment. 


35 


The  girls  wear  black  waists  with  skirts,  and  scarf 
of  plaid  draped  from  the  left  shoulder.  The  boys 
wear  short  kilted  skirts,  and  plaid  scarfs  over  black 
jackets  or  dark  flannel  shirts,  and  all  have  flat  Scotch 
caps.  The  boys  are  armed  with  swords,  and  they 
have  sporrans  at  the  belt  made  of  pieces  of  fur.  The 
rocking-horses  can  be  borrowed  at  a toy-shop,  or  may 
be  made  like  the  hobby-horses  of  old  with  a little 
ingenuity.  If  the  children  enter  into  their  parts  with 
spirit,  the  pantomime  will  prove  very  effective,  and 
suited  to  the  capacity  of  smart  children  of  six  years, 
and  of  even  younger  ones.  The  poem  is  to  be  found 
in  the  works  of  Sir  Walter  Scott. 

III.  THE  HUGUENOT  FUGITIVES. 

The  idea  of  this  picture  is  taken  from  the  celebrated 
painting  by  Edwin  White,  which  it  is  not  intended  to 
copy  in  any  way.  The  boat  is  supposed  to  be  slowly 
sailing  into  the  peaceful  waters  of  a friendly  harbor, 
bearing  a load  of  refugees,  who  were  warned  of  the 
approaching  massacre  of  St.  Bartholomew  just  in 
time  to  escape  from  a banquet  hall  in  their  festal 
robes.  They  are  singing  a psalm  of  gratitude  for 


3^ 


AN  evening's  entertainment. 


their  deliverance  as  the  evening  shadows  gently  fall 
around.  The  sail  hangs  idly  from  the  mast,  and  the 
old  man  at  the  helm  seems  more  intent  on  the  music 
than  on  the  navigation  of  his  craft.  A high  curved 
prow  and  stern  may  take  the  place  of  the  shell  and 
butterfly  used  on  the  Voyage  of  the  Fairies.  The 
sail  is  made  by  a silken  shawl  or  white  sheet  tacked 
upon  a yard  which  is  fastened  at  the  centre  by  a nail 
to  a mast  nine  feet  high.  One  corner  of  this  sail  is 
much  higher  than  the  end  toward  the  front,  and 
stands  a little  forward  of  the  centre  of  the  boat,  in 
which  place  the  mast  may  be  held  upright  by  a per- 
son  who  would  be  concealed  by  the  sail.  In  front 
of  this  a blonde  lady  stands  dressed  in  blue  silk,  with 
square  neck  richly  trimmed  with  pearls  or  Roman 
beads,  a band  of  which  surrounds  her  flowing  hair. 
This  lady  holds  a handsome  book,  the  other  side  of 
which  is  held  by  a tall  gentleman  in  a cavalier  dress 
of  maroon  or  black.  At  the  stern  sits  the  ancient 
helmsman  with  a yellow  and  black  robe,  grasping  the 
helm,  which  is  drawn  and  cut  in  profile  at  the  end  of 
the  stern-piece.  The  space  between  the  two  singers 
and  the  steersman  is  filled  by  two  ladies  in  contrast- 


AN  evening’s  entertainment. 


37 


ing  silk  dresses,  who  bend  over  a little  boy  in  vel- 
veteen dress  trimmed  with  white  lace,  who  is  sleeping 
on  a pile  of  cushions.  Two  ladies  stand  between  the 
sail  and  prow,  who  hold  a singing-book  between  them. 
The  effect  is  much  improved  by  the  singing  of  some 
popular  church  chant  behind  the  curtain,  which  covers 
the  frame.  The  light  slowly  fades  away  during  the 
hymn,  and  the  curtain  slowly  descends  as  the  last 
notes  of  the  verse  die  away.  The  performers  must 
look  very  sad  and  earnest,  with  parted  lips  as  if  they 
were  singing. 

IV.  Statuary:  skill,  strength  and  patience. 

This  group  of  statuary  may  be  represented  by  one 
gentleman  and  two  ladies  draped  in  white.  The  for- 
mer, as  Strength,  stands  on  a high,  white-covered  box 
in  the  centre  of  the  platform,  with  a huge  whitened 
pick-axe  raised  as  if  in  the  act  of  striking  a heavy 
blow.  Every  muscle  is  strained  as  if  to  display  great 
effort  to  heighten  the  contrast  to  Patience,  who  re- 
clines on  the  platform  before  him,  her  folded  hands 
and  down-bent  pose  of  the  head  implying  thought  and 
study.  At  the  left,  on  the  front  corner  of  the  high 


38 


AN  evening’s  entertainment. 


box,  sits  Skill  at  the  feet  of  Strength,  looking  up  into 
his  face,  pointing  with  her  right  hand  in  the  direction 
in  which  he  is  striking,  as  if  to  show  that  his  brute 
force  is  wholly  dependent  on  her  gentle  power  for 
successful  action.  She  holds  a half-unrolled  chart  in 
her  left  hand,  which  hangs  by  her  side.  The  lady 
who  represents  Patience  may  be  larger  than  the  one 
who  represents  Skill,  to  show  that  the  weaker  body 
may  possess  the  more  powerful  attributes  of  mind. 
The  pick-axe  may  be  made  of  wood  and  pasteboard,  if 
the  actor  is  not  strong  enough  to  hold  a real  one  still, 
and  both  this  and  the  scroll  must  be  covered  with 
white  paper  or  cloth. 

V.  MEDIAEVAL  ART  STUDIES. 

Some  remarkable  art  studies  may  be  introduced 
into  the  programme  for  the  benefit  of  lovers  of  high 
art,  and  as  a contrast  to  simpler  and  more  humorous 
scenes.  The  background  for  them  is  wholly  made  of 
gilt  paper,  which  must  be  fastened  with  paste  to  a cloth 
curtain,  in  order  that  it  may  hang  smoothly  without 
tearing.  The  angels  of  Fra  Angelico  are  very  effect- 
ive on  this  background,  of  course  shown  separately. 


AN  evening’s  entertainment. 


39 


and  may  be  represented  by  young  ladies  with  bright 
auburn  hair  creped.  The  dresses  and  attitudes  may 
be  copied  from  photographs,  and  made  up  of  turkey- 
red  and  blue  cloth  trimmed  with  gilt  paper.  The 
wings  are  made  on  wire  frames,  fastened  by  a cross- 
bar with  elastic  tapes  to  the  shoulders.  The  trump- 
ets and  other  musical  instruments  may  be  made  of 
tin,  pasteboard  or  of  paper,  copying  the  form  in  the 
picture,  and  covered  with  gold  or  silver  paper,  as  re- 
quired. All  gilt-paper  ornaments  may  be  fastened  on 
to  the  cloth  by  strong  flour  paste.  The  attitudes 
must  be  very  carefully  copied  from  the  paintings.  Any 
rich  mediaeval  painting  may  be  given  in  this  manner. 

VI.  ten  little  INJUNS  {two  sccfies.) 

Scene  First, 

This  funny  pantomime  requires  a gentleman  or  large 
boy  who  can  sing,  and  ten  boys  graduated  in  height 
for  the  ‘‘  Injuns,”  and  dressed  in  brown  tights,  with 
short  skirts  made  of  carpet  yarn  or  flannel,  from  which 
a strip  of  the  same  material  crosses  the  left  shoulder. 
The  tights  are  trimmed  down  the  outside  with  carpet 


40 


AN  evening’s  entertainment. 


yarn,  and  slippers  covered  with  brown  cloth,  gayly 
trimmed,  represent  moccasins.  The  headdress  is  a 
close  'flannel  cap  trimmed  in  front  with  a circlet  of 
feathers,  and  with  long  black  carpet  yarn  sewed  on  to 
the  back  of  it  and  reaching  down  to  the  waist.  Bells, 
bits  of  tin,  or  brass  ornaments,  may  be  sewed  on  to 
the  waist  in  wild  confusion,  and  the  faces  should  be 
painted  with  ochre,  marked  in  stripes  of  various 
colors.  They  may  all  carry  bows,  hatchets  or  rude 
tomahawks  made  of  tin,  and  the  man  carries^a  gun. 
He  may  be  dressed  in  a hunting  dress  of  any  rough 
material  most  convenient. 

The  curtain  rises  on  the  hunter,  Tom  Brown,  who 
begins  to  sing  the  well-known  air;  “Tom  Brown  had 
a little  Injun,  Tom  Brown  had  a little  Injun,  Tom  Brown 
had  a little  Injun,  had  a little  Injun  boy.”  The  small- 
est boy  here  enters,  and  sings  alone,  “ One  little,”  and 
with  Tom  continues  the  verse  as  follows  : “ Two  little, 
three  little,  four  little,  five  little,  six  little  Injuns,  seven 
little,  eight  little,  nine  little  Injuns,  ten  little  Injun 
boys.”  During  this  chorus  they  join  hands  and  dance 
around  very  rapidly ; and  at  the  last  note  the  little  Injun 
sits  down,  while  Tom  very  soberly  sings  his  part  alone 


AN  EVENING'S  ENTERTAINMENT. 


4^ 


again,  during  which  a second  Injun,  next  in  size,  en- 
ters and  sits  down  by  the  first,  whom  Tom  discovers 
in  surprise  and  points  at  as  if  in  astonishment,  and 
the  chorus  goes  on  as  before,  the  first  one  singing  the 
words  one  little,’’  the  second  striking  in  at  two 
little,”  jumping  up  on  to  his  feet  at  the  same  moment, 
and  whirling  round  in  the  ring  with  the  others.  The 
third  enters  during  the  next  solo,  and  joins  in  at 
“ three  little  ” when  his  turn  comes,  and  taking  part  in 
the  chorus  and  dance.  The  fourth,  fifth,  sixth,  seventh, 
eighth,  ninth  and  tenth  do  likewise,  the  grotesque 
astonishment  of  Tom  growing  greater  at  each  arrival, 
and  the  wild  whirl  of  the  dance  and  chorus  growing 
swifter  and  wilder,  as  the  boys  leap  up  and  down  in 
time  to  the  music,  but  sitting  down  in  perfect  quiet 
the  moment  the  chorus  stops.  When  the  last  chorus 
is  over  all  make  a mad  rush  at  Tom  Brown,  who  has 
taken  his  place  in  the  middle  of  the  ring  as  soon  as 
the  fourth  Injun  has  arrived  to  make  it  big  enough. 
To  make  it  plain,  the  words  are  copied  as  they  are 
sung,  the  authorship  of  the  poem  being  unknown  to 
the  writer.  Tom  sings  alone  : ‘‘  Tom  Brown  had  a 
little  Injun,”  four  times.  Chorus  : ‘‘  One  little,  two 


42 


AN  evening’s  entertainment. 


little,  three  little  Injuns,  four  little,  five  little,  six  lit- 
tle Injuns,  seven  little,  eight  little,  nine  little  Injuns, 
ten  little  Injun  boys.” 

TEN  little  INJUNS.  Sceuc  Secofid. 

In  the  second  scene  the  same  boys,  dressed  as  de- 
scribed in  the  first  scene,  appear,  when  the  curtain 
rises,  seated  upon  a fence,  made  by  nailing  a rail 
thirteen  feet  long  on  the  tops  of  two  posts  two  and 
one-half  feet  high.  These  posts  stand  on  the  plat- 
form, in  the  centre  near  the  front  edge,  one  at  each 
end  of  the  rail,  and  a third  will  be  needed  in  the  cen- 
tre of  the  rail  unless  it  is  very  stiff.  The  back  of 
this  rail  is  covered  with  black  cambric  which  hangs 
down  and  fills  all  the  space  to  the  platform,  so- that 
the  boys  are  hidden  behind  it  when  they  fall  olff. 
They  are  seated  in  regular  order  on  the  rail,  their 
feet  hanging  down  in  front,  and  as  each  verse  is  sung 
by  Tom  Brown,  who  stands  before  them,  one  boy 
rolls  off  backward  and  disappears.  As  each  one 
goes,  Tom  weeps,  each  time  drawing  a larger  hand- 
kerchief from  his  pocket. 


AN  evening’s  entertainment. 


43 


Tom  sings : 

“ Ten  little  Injuns  sitting  in  a line; 

One  tumbled  off  and  then  there  were  nine. 

Nine  little  Injuns  sat  on  a gate  ; 

One  tumbled  off  and  then  there  were  eight. 

Eight  little  Injuns,  three  from  eleven; 

One  tumbled  off  and  left  only  seven. 

Seven  little  Injuns  sitting  on  sticks ; 

One  tumbled  off  and  left  only  six. 

Six  little  Injuns  sat  all  alive ; 

One  broke  his  neck  and  left  only  five. 

Five  little  Injuns  his  loss  to  deplore  ; {All  cry.) 

One  tumbled  off  and  left  only  four. 

Four  little  Injuns  on  an  old  tree; 

One  tumbled  off  and  left  only  three. 

Three  little  Injuns  looking  very  blue; 

One  tumbled  off  and  left  only  two. 

•Two  little  Injuns  basking  in  the  sun; 

One  tumbled  off  and  left  only  one. 

One  little  Injun  left  all  alone  ; 

He  tumbled  off  and  then  there  were  none.” 

While  Tom  stands  with  his  back  to  them  crying 
bitterly,  first  one  little  head  appears  over  the  rail, 
then  the  next,  and  so  on  until  all  show,  and  they  sing  : 

“ Dry  up  your  tears,  and  just  look  around  — 

Here  you  see  us,  all  safe  and  sound.” 

During  this  verse  they  put  their  hands  on  the  rail, 


44 


AN  EVENING  S ENTERTAINMENT. 


and  all  together  vault  into  place  and  sit  motionless  a 
second.  At  a signal  from  Tom  they  jump  down,  and 
all  move  off  in  procession  as  curtain  falls,  repeating 
song  and  chorus. 

VII.  THE  FROST  KING. 

This  is  a boat  scene  representing  the  approach  of 
Winter,  and  the  shell  may  be  used  for  the  stern, 
while  a lion’s  head  must  be  cut  out  in  profile  for  the 
prow.  On  a high  box  in  the  centre  a very  large  man 
sits  in  a dress  of  fur  with  a very  long  flowing  beard 
and  wig ; he  holds  erect  a whip  of  icy  thongs.  At 
the  prow  and  stern  female  figures  bend  eagerly  for- 
ward as  if  blowing  with  all  their  might  through  long 
trumpets.  At  the  man’s  feet  recline  two  figures  : one 
a graceful  lady  holding  with  curved  arm  above  her 
head  a large  reversed  vase,  and  a little  boy  who 
bends  down  looking  into  the  water,  holding  a re- 
versed torch.  Between  the  centre  and  the  stern  a 
strong  man  reclines,  bound  with  chains ; and  next 
the  bow  a lady  stands  bending  toward  the  left,  trying 
to  cover  two  shivering  children  under  her  cloak. 


AN  EVENING  S ENTERTAINMENT. 


45 


The  children  are  dressed  in  winter  wraps  and  close  red 
hoods,  and  the  woman  who  shelters  them  wears  a 
red  cloak  trimmed  with  fur.  The  other  ladies  wear 
classic  dresses  made  of  white-cheese  cloth  in  plain 
folds  from  neck  to  feet,  falling  over  a string  around 
the  waist.  Over  the  boat  and  over  the  dresses  of  all, 
snoiv^  ice  mid  frost  are  thickly  spi'ead^  the  former  made 
of  a thin  sheet  of  cotton  wadding,  the  ice  of  crystal- 
lized alum,  and  the  frost  of  ravelled  silver  braid,  which 
is  sold  by  costumers ; powdered  glass  can  be  also 
easily  procured,  which  is  put  on  with  paste.  Large 
portions  of  the  boat  and  of  the  dresses  are  covered 
with  paste  laid  on  thick,  over  which  the  powdered  glass 
is  sifted,  to  which  it  adheres,  making  a very  beautiful 
appearance.  The  silver  braid  when  ravelled  comes 
out  in  lengths  of  eight  to  twelve  inches,  and  may  be 
used  to  advantage  on  all  frosty  and  fairy  dresses. 
The  king’s  crown  may  be  made  of  glass  prisms  bor- 
rowed from  chandeliers,  and  his  beard  and  wig  may 
be  made  of  flax  which  has  been  dipped  in  a strong 
solution  of  alum  and  alcohol.  Crystals  will  adhere 
to  the  flax  and  hang  down  like  icicles,  making  a very 
good  imitation.  For  this  and  some  scenes  of  the 


46 


AN  evening’s  entertainment. 


same  spectacular  nature,  colored  fires  may  be  burned, 
or  Magnesium  lights. 

VIII.  Statuary : boadicea. 

This  statuesque  group  represents  the  fierce  Queen 
of  Britain  slaying  her  children  and  then  taking  her 
own  life.  It  should  not  be  copied  after  the  statue  of 
that  name,  but  be  grouped  in  three  different  attitudes. 
Boadicea,  represented  by  the  largest  of  the  statue 
ladies,  holds  in  her  right  hand  a large  knife  with  which 
she  is  striking  at  a child  who  kneels  at  her  side  on 
the  right  centre  of  the  platform.  The  other  child, 
represented  by  the  shorter  of  the  statue  ladies,  kneels 
at  the  left  of  Boadicea  begging  for  her  sister’s  life. 
In  the  second  scene  the  child  lies  at  the  feet  of 
Boadicea,  who  seizes  the  lady  by  the  right  shoulder 
and  keeps  her  still,  while  she  leans  back  with  uplifted 
arm  awaiting  the  fatal  blow.  In  the  third  scene  the 
two  children  lie  at  Boadicea’s  feet,  while  she  leans 
backward  and  holds  the  knife  buried  in  her  heart. 
This  knife  is  made  in  two  parts,  one  half  of  which  is 
fastened  only  by  a pin,  so  that  when  the  lower  part  is 


AN  evening’s  entertainment. 


47 


removed  the  knife-blade  seems  to  have  entered  the 
body,  leaving  only  a small  part  of  the  blade  and  the 
handle  exposed  to  view.  In  the  last  scene  the  figure 
of  the  second  child  lies  across  the  first,  and  their 
heads  are  over  the  front  of  the  platform. 

IX.  BED-TIME. 

This  beautiful  picture  is  shown  in  the  centre  frame, 
in  the  part  of  which  a small  couch  is  made  by  cover- 
ing with  bright  draperies  a small  mattress  and  pillows. 
On  this  bed  a little  child  lies  sleeping,  with  her  head 
on  her  hand.  Her  right  arm  is  thrown  carelessly  over 
the  quilt,  and  her  creped  hair  is  tossed  over  her 
cheeks.  Close  behind  the  child  a lady  kneels,  bend- 
ing gracefully  over  her  as  if  she  had  just  bestowed 
upon  her  a parting  kiss.  Above  the  lady  an  angel 
stands  with  her  right  foot  on  a box  and  her  body  bent 
forward  as  if  just  about  to  lift  herself  on  her  wings, 
which  are  outstretohed.  These  wings  maybe  made  on 
wire  frames,  and  fastened  to  the  shoulders  by  elastic 
tape.  Cheese-cloth  drapery,  arranged  as  described 
for  the  classic  figures,  is  suitable  for  saint  and  angel 


48  AN  evening’s  entertainment. 

dresses.  The  same  cloth  also  is  very  good  for 
covering  the  wing  frames,  as  it  can  be  draped  into 
feathery  folds,  and  is  also  inexpensive.  In  all  such 
figures,  light  hair  creped,  without  ornament,  is  best. 

X.  THE  CARNIVAL. 


In  conclusion  it  is  always  important  to  have  a grand 
scene  in  which  all  the  performers  can  take  part.  For 
this  purpose  the  Carnival  is  peculiarly  suited,  as  cos- 
tumes may  be  worn  which  have  already  been  intro- 
duced. For  this  a short  flight  of  three  steps,  three 
feet  wide,  will  be  needed  to  stand  on  the  stage  in  the 
centre  against  the  platform,  so  that  two  persons  at  a 
time  can  descend.  Boxes  must  be  placed  at  each 
end  of  the  platform,  concealed  by  the  corners  of  the 


each  side  without  being  seen.  All  enter  by  couples 
from  the  two  ends,  and  as  two  couples  meet  they 
salute,  and  the  two  who  are  in  front  join  hands,  lift 
them  high  and  march  down  the  steps  to  the  front 
of  the  stage,  salute,  divide,  march  around  the  edge  of 
the  stage  close  to  the  side  curtains,  along  the  front 


AN  EVENING  S ENTERTAINMENT. 


49 


of  the  platform  to  the  ends  of  the  steps,  and  down  to 
the  front  again.  The  other  couple  of  the  first  four 
wait  until  the  leaders  have  descended  the  stairs,  and 
then  follow  them  ; the  next  four  as  soon  as  room  is 
made  also  imitate  the  others,  and  all  go  on  in  a grand 
march  until  all  have  entered,  when  they  assemble  at 
the  sides  in  two  groups.  Two  lines  then  arrange 
themselves  on  the  platform  until  it  is  filled,  and  a 
large  box,  with  a smaller  one  on  it,  is  pushed  in  from 
the  frame,  and  five  of  the  most  prominently  costumed 
ladies  form  a pyramid,  by  one  standing  on  the  top 
box,  and  two  on  the  lower  box,  with  the  others  seated 
at  their  feet.  The  curtains  are  then  drawn  from  the 
frame  and  window  described  in  the  Serenade,  and  the 
latter,  as  well  as  all  the  space  behind  the  pyramid,  is 
filled  with  faces,  the  owners  of  which  at  the  last  of  the 
dance  pelt  the  dancers  with  candy,  bon-bons  and  little 
bouquets.  While  the  pyramid  is  arranging  itself,  four 
gentlemen  escort  their  partners  to  the  centre  of  the 
stage,  and  with  many  graceful  bows  go  through  the 
figures  of  the  Lancers  or  those  of  any  showy  quadrille. 
When  the  dance  is  over,  all  form  in  a semi-circle  at 
the  right  and  left  of  the  pyramid,  and  sing  in  chorus 


so 


AN  evening’s  entertainment. 


these  words  to  ‘‘Auld  Lang  Syne,”  omitting  the  re- 
frain of  the  tune: 

“The  fleeting  pictures  come  and  go  with  transitory  ray, 

But  tender  visions  of  our  friends  will  never  fade  away. 

Kept  by  the  photographic  power  of  memory’s  fadeless  hue, 
Upon  our  hearts  we  ever  hold  the  kindness  ^hown  by  you.*‘ 


ENTERTAINMENTS  FOR  GIRLS. 


The  Bffl  o_f  Drills. 

PART  I. 

A.  group  of  entertainments  for  stage  or  floor  performance,  by  Mary  B. 

Horne,  the  author  of  “ The  Peak  Sisters,”  etc. 

Price,  - - - 30  cents. 

CONTENTS. 

A NATIONALr  FLAG  DRILL  (As  presented  by  children  in 
Belmont,  Mass.,  at  a Fair  given  by  the  Arachne,  in  December,  1888. 
Also  as  given  by  ten  young  ladies  of  the  Unity  Club,  in  Watertown, 
Mass.,  February  22,  1889.) 

THE  SHEPHERD’S  DRILL. 

THE  TAMBOURINE  DRILL  (As  given  at  a Rainbow  Party 
by  twelve  little  girls  of  the  Third  Congregational  Society,  Austin  St., 
Cambridgeport,  May  2,  1889. 

THE  MOTHER  GOOSE  QUADRILLE  (As  danced  at  the  Bel- 
mont Town  Hall,  May  10,  1889.) 


The  nHRONQTHflNATOLETRON: 

OR,  OLD  TIMES  MADE  NEW. 

An  entertainment  in  one  act  for  sixteen  girls,  written  for  the  Class  Day 
Exercises  at  Dana  Hall  School,  Wellesley,  Mass.,  by  two  members 
of  the  Class  of  ’87  and  first  performed  before  members  of  the  school 
and  their  friends,  June  18,  1887,  and  later  at  Ellsworth,  Maine 
April  6th,  1888. 

Price,  - --  --  --35  cents. 

The  idea  of  this  cleverly  conceived  but  quaintly  named  piece  may  be 
briefly  described  as  follows  : The  ‘‘Genius  of  the  Nineteenth  Cen- 
tury,” although  congratulating  herself  upon  the  achievements  of  the  age, 
still  longs  for  some  means  of  recalling  to  earth  the  prominent  characters 
of  the  past.  Her  wish  is  granted  by  the  “ Inventress  ” who  produces 
the  “marvelous  machine,”  the  “ Chronothanatoletron  ” (or  Time  and 
Death  Annihilator),  by  means  of  which  any  woman  of  any  epoch  can  be 
brought  at  once  into  the  presence  of  the  “operator.” 


Out  of  his  Sphere. 

A Comedy  in  Three  Acts  by  the  Author  of  the  Pop- 
ular Military  Drama 

“FORCED  TO  THE  WAR.” 


Price,  15  cents. 

Five  male,  three  female  characters.  Scenery,  two  simple  interiors.  The 
leading  character  is  an  old  farmer,  whose  wish  for  the  comforts  of 
city  life  and  the  luxuries  of  wealth  is  answered  in  an  unexpected 
and  embarrassing  manner.  The  piece  abounds  in  rustic  humor,  the 
contrast  between  the  simple  old  countryman  and  his  city  surround- 
ings being  ludicrously  emphasized.  All  the  characters  are  good  and 
the  piece  easy  to  produce. 

SYNOPSIS. 

Act  I.  Kitchen  in  Jedediah’s  house.  A stormy  night.  Family  jar.  Jede- 
diah’s  return.  A much  abused  man.  “Haiii’t  I been  wrecked  with  floods,  an* 
blizzards,  an’  hurricanes,  an’  every  other  calamity  under  the  sun?”  Dissatisfled 
with  his  sphere  in  life.  “I  want  ter  be  rich,  that’s  what  I want,  an’  with 
nuthin’  ter  du  but  jesi  sit  around  an’  take  life  easy.”  Mr.  Markham  seeks  shel- 
ter from  the  storm.  Jedediah,  relates  his  troubles,  after  which  he  retires. 
Scheme  between  Mrs.  Blood  and  Mr.  Markham  to  .cure  Jedediah  from  grumbling. 
The  Dutchman  let  into  the  secret.  “ You  vhas  der  doctor,  und  I vhas  der  gen- 
eral superintendent.  Pizness  is  pizness.”  Jedediah  placed  under  the  influence 
of  anaesthetics  and  taken  to  the  mansion  of  Mr.  Markham. 

Act  II.  Room  in  Markham’s  mansion.  Jedediah  awakes  from  his  stupor. 
A bewildered  man.  “What  — on  — airth  — Why!  where  am  I,  anyhow  ! ” Fe- 
male servants  not  wanted.  Believes  himself  to  be  dreaming  and  endeavors  to 
awake.  “ I’ve  hern  tell  if  you  could  shout,  or  thrash  yourself  about,  it  would 
wake  you  from  the  toughest  nightmare  on  record.  So  here  goes.”  Interview 
between  Jedediah  and  John.  “Wise  man  holds  tongue.  Old  proverb.  Better 
follow  it.”  Fun  by  the  bushel.  More  and  more  bewildered.  Mrs.  Blood  as  Mrs. 
Southernwood.  An  explanation  wanted.  “For  Heaven’s  sake  tell  me  where  I am 
an’  what’s  the  matter.”  Old  home  the  best.  Asleep  or  crazy  — which?  “ Oh, 
Lord,  I’m  in  a lunatic  asylum,  an’  these  servants  are  my  keepers.”  Jedediah 
retires.  Once  more  returned  to  his  old  home. 

Act  III.  Same  as  Act  I.  Conundrums.  “Why  do  some  ladies  who  do  up 
their  hair  imitate  a rooster?”  The  Dutchman’s  conundrum.  “Vydoes  der 
hen  move  his  head  back  und  forth  vhen  she  vhalks  ?”  Something  about  base- 
ball. Jedediah  awakes.  “ I’ve  had  a dream.”  So  have  Thomas  and  the  Dutch- 
man. Jedediah’s  story.  A permanent  cure.  “No  matter  under  what  circum  j 
stances  I am  placed  , or  how  poor  my  condition  may  be,  I will  never  again  find  | 
fault  with  my  sphere  in  life.” 


THE  BAT  AND  THE  BALL. 

A Farce  in  one  Act. 

Price  - --  --  --15  cents. 

Four  male,  three  female  characters.  Scenery,  costumes  and  properties 
simple.  Time  in  playing  about  40  minutes.  Showing  the  difficul- 
ties that  may  arise  from  the  practice  of  Amateur  Photography.  A 
roaring  farce. 


TWO  NBW  COMBDIBS 

By  the  Author  of  “A  RICE  PUDDING.” 

flN  tlUTOKRflPH  I ETTER. 


By  ESTHER  B.  TIFFANY, 


The  author  of  “Anita’s  Trial,’’  “Young  Mr.  Pritchard,’ 
“That  Patrick,”  etc. 

Price,  - --  --  -..35  cents. 

A comedy  drama  in  three  acts  for  five  male  and  five  female  charac 
ters.  This  latest  play  of  Miss  Tiffany  is  by  far  the  strongest  work  frorti 
her  pen,  and  unites  to  the  brilliancy  and  grace  which  characterized  heir 
earlier  pieces,  dramatic  power  of  a high  order.  A charming  little  love- 
story,  tender  in  sentiment  but  without  mawkishness,  is  cleverly  combined 
with  a plot  of  a graver  nature  which  is  developed  in  a series  of  scenes  of 
great  interest  and  power.  As  in  all  her  pieces,  the  dialogue  is  oistin- 
guished  by  brilliancy,  and  its  humor  genuine  but  refined.  Two  scenes 
only,  both  interiors,  are  required,  and  the  properties  and  dresses  are 
simple,  modern  in  character,  and  easily  gotten  up.  Equally  suitable 
for  stage  or  parlor  performance.  Plays  about  two  hours. 


THE  WAY  TO  HIS  POCKET. 

By  the  Same  Author. 

Price,  - --  --  --15  cents. 

A comedy  in  one  act  for  two  male  and  three  female  characters.  Scene 
an  interior,  costumes  modern.  All  its  requirements  are  simple  to  the 
last  degree  and  offer  no  difficulties.  This  little  play  is  in  Miss  Tiffany’s 
best  vein,  and  admirably  continues  the  series  of  parlor  pieces,  refined 
in  humor  and  clever  in  plan,  of  which  she  is  the  author.  Plays  about 
an  hour. 


For  Other  Novelties  see  Other  Side. 


THREE;  NEW  BOOKS 


A Fool  for  1 uck. 

1 FARCICSL  COMEDY  IN  TWO  ACTS. 

By  W.  M.  BROWNE. 

Four  male  and  three  female  characters.  This  laughable  comedy  uf 
modern  society  turns  upon  the  mania  for  stock  speculation.  The  leading 
comedy  character  is  a type  of  Englishman  not  unrelated  to  Lord  Dun- 
dreary, the  other  personages  and  the  scene  being  American.  The  dia- 
iOgue  is  very  bright,  the  scenery  and  costumes  very  easy. 

Price,  - --  --  --35  cents. 

Six  to  One;  or  The  Scapegrace. 

fi  (^pfnEDY  IK  OKE 

By  F.  A.  MATHEWS. 

One  male,  six  female  characters.  Costumes,  those  of  everyday  life; 
scenery,  not  at  all  necessary.  This  laughable  little  skit  has  something 
of  the  character  of  “The  Only  Young  Man  in  Town,”  and  will  be 
even  more  popular.  Five  types  of  society  girl  are  satirized  with  a keen 
hand — the  Boston  Girl,  the  Philadelphia  Girl,  the  Chicago  Girl,  etc.,  etc. 

The  dialogue  is  bright  and  the  situations  amusing.  The  one  male 
character  is  an  excellent  one  and  plays  itself. 

Price,  - --  --  --15  cents. 

The  Nursery  Drill 

An  entertainment  for  females — adults  or  children — by  Mary  B.  Dorne, 
author  of  “The  Peak  Sisters,”  “The  Book  of  Drills,”  etc.  This  drill  is 
a new  and  original  version  of  the  entertainment  variously  called  “ The 
Dolls’ Drill,”  “The  Nurse-Maids’  Drill,”  “The  Rag  Baby  Drill,”  etc. 
and  is  published  complete  with  all  music  not  readily  obtainable,  and  full 
instructions.  It  will  be  found  to  be  easily  the  best  version  of  this  popu- 
lar and  amusing  drill. 


Price, 


15  cents. 


A NEW  PLAY  FOR  FEMALE  CHARi^^ERi 

I A Compa7tion  to  REBECCA'S  TRIUMPH."  ''-UN 

ANITA’S  TRIAL; 

Or,  Our  Girls  in  Camp. 

By  Esther  B.  Tiffany,  author  of  ‘‘A  Rice  Pudding,^’  ‘‘That  Patrick,’^ 

I “Young  Mr.  Pritchard,”  etc.  Price,  ^25  cents. 

' This  is  a bright  and  sparkling  comedy  in  three  acts,  for  eleven  fynale  ^ 

I characters.  Its  story  is  entertaining,  and  its  dialogue  distinguished  by  this 
author’s  delicate  humorous  touch.  One  scene  only  is  necessary  for  the 
three  acts  — a camp  in  the  woods,  easily  arranged.  The  dresses  are  simple 
and  picturesque  camping  costumes.  The  enormous  success  of  “Rebecca’s 
Triumph  ” has  created  a demand  for  this  sort  of  piece,  to  meet  which  we 
confidently  present  “Anita’s  Trial,”  in  which  is  solved,  with  no  less  suc- 
cess than  in  its  predecessor,  the  difiicult  problem  of  constructing  a play  of 
•trong  human  interest  without  the  assistance  of  male  characters. 


IBy  the  Same  Author. 

A RICE  PUDDING. 

Price,  - --  --  --85  cents. 

A comedy  in  two  acts,  for  two  male  and  three  female  characters.  Scene, 
a simple  interior,  the  same  for  both  acts.  Costumes  modern  and  simple, 
but  affording  opportunity  for  elegant  dressing,  if  it  is  desired.  No  proper- 
ties required  beyond  what  may  be  found  in  every  house.  The  story  of  this 
piece  deals  with  the  mishaps  of  an  inexperienced  house-keeper  in  a new 
house.  Its  humor  is  abundant,  its  satire  of  the  “Cooking  School  ” shrewd,^ 
iU  incidents  amusing  and  dramatic,  its  dialogue  brilliant. 


h YOUNG  MR.  PRITCHARD. 

Price,  - --  --  --15  cents. 

> 

A comedy  in  two  scenes,  for  one  male  and  three  female  characters^ 
Very  bright,  easy  to  do.  Two  excellent  characters,  old  women  and  ingenuC; 


THAT  PATRICK. 

Price,  - --  --  --15  cents. 

j A comedy  in  one  act,  for  one  male  and  two  female  characters.  One 
I lady  in  German  dialect.  A very  bright  an^  whimsical  little  piece. 


V 


Lithomount 
Pamphlet 
Binders 
Gaylord  Bros.  Inc. 

Makers 

Syracuse,  N.  Y, 


